輸入雑誌/文章は英語で記載 - この号のデザイン(表紙)が2種類あります (掲載内容は同じ)

year/2009

country/US

label/Wax Poetics

ソウル、ファンク、ジャズ、 ヒップホップを中心に最も質の高い音楽を届ける超良質雑誌「Wax Poetics」の英語版US Issue 38号。

Curtis Mayfield、Spike Lee、Ralph Bakshiの他、Re:Discovery、Roc Raida、Shadows and Phonographs 、Brotherman、Adrian Younge、Gangs On Film、Night Life、The Rhythm of Film、Mood Musicといった幅広いミュージシャンと音楽の貴重な記事を収めている。英語版であるが、この本を読まずして真のミュージック・ラヴァーとは言えない？



It’s been a long time coming. In fact, for the past eight years and thirty-seven issues, we’ve wanted to do a Curtis Mayfield cover. It finally worked out for our unofficial Film/Hustler Issue, in which we take a look at Mayfield’s epic soundtrack recording Super Fly. New York writer Michael Gonzales pulls from his own 1996 Curtis Mayfield interview as well as tapping Curtis associates, guitarists Craig McMullen and Phil Upchurch and composer/arranger Johnny Pate, to tell the story of the finest blaxploitation score of the 1970s.


Once again, we’ve created a split cover–with Curtis on front both times and the back shared by two classic films: Spike Lee’s Do the Right Thing (Radio Raheem in full effect) and Ralph Bakshi’s Coonskin (a Wax Poetics favorite). Besides speaking with both of these groundbreaking filmmakers, we also take a look at the new film Black Dynamite (Wax Poetics Records released the score and soundtrack), and music supervisor David Hollander reveals the fundamental facts of once-mysterious library music.


Last but not least, we finally unveil the Robert Beck aka Iceberg Slim story by longtime contributer Mark McCord (aka Mark Skillz). As the greatest hustler of all time, Beck finally gets his due.



Curtis Mayfield

“I don’t see why people are complaining about the subject of these films,” Curtis told Jet magazine in October 1972 in a statement that foreshadows the words of modern-day rappers. “The way you clean up the films is by cleaning up the streets. The music and movies of today are the conditions that exist.”


Spike Lee

What gets me mad about Bamboozled is that the New York Times refused to run the ad with Tommy Davidson and Savion Glover in blackface. The whole thing about the film was to show that there is a history behind this imagery.


Ralph Bakshi

When I was doing Mighty Mouse and The Mighty Heroes, I didn’t like what I was doing. That wasn’t the raw edge of life I grew up with. Bob Dylan was singing, the freedom marches were happening, Miles Davis was blowin’, and the stuff Coltrane was doing was brand new. So doing this stupid, old bullshit wasn’t good enough.